Crafted using both age-old and modern hammering techniques for enriched, vintage sounds.

This Zildjian K Constantiople hi-hat top is hand-lathed in the traditional style and produces rich and delicate notes. A soft and resonant sound devoid of any mush, it is ideal for acoustic jazz and studio work. Added to any heavy hi-hat bottom, it would add a pleasant warmth and body to your hi-hat sound.

This hi-hat set was developed in conjunction with jazz maestro, Elvin Jones.

I purchased two Constantinople hi-hat tops, and one Zildjian Avedis Mastersound bottom hat. This bottom hat is fairly heavy, and has wavy edges, which are great for the perfect chick. All cymbols vary in weight and brightness of tone. Of my two top hats, the thinner (lower pitched) top hat I use as a ride/crash/splash cymbol, for which it is impressive. Beautiful complexity of sound due to its thinness and hammering. The brighter top hat I use with the Mastersound bottom, to give an awesome sound that is both jazz oriented, but with some projection and a beautiful clean chick, making it useful for more than just jazz. For worship, it is unsurpassed. For pure jazz, I use the brighter (heavier) top hat as a bottom, and the lighter one as the top hat. This gives a more jazz oriented sound than I have found from any other cymbol. The above top and bottom combinations are, in my opinion, superior to the use of the matched top and bottom Constantinople hat sets offered by Zildjian. The standard bottom hat lacks the wavy edges, and seems less heavy than the Mastersound. I feel that the Mastersound gave the better chick. The use of a top hat as a bottom gives me a richer, more jazz-oriented sound, when that is desired. With these three cymbols I have a faily wide flexibility of sound. Most other hi-hats have a clanging sound that is offensive to me. I may be more of a novice as a drummer, but I have a demanding ear for tone. I STRONGLY recommend the Zildjian Constantinople top hat.